Jordan Tran Kean, Studio SR You began your artistic journey through graffiti and urban space before gradually moving toward the quieter and highly controlled language of your current paintings. What did you discover through this transition, and what did you feel you were searching for when you moved from the walls into the studio? JK Light is an integral part of my work. It is at the heart of my practice, essential and inseparable from my paintings. It helps me express what

Born in Odense in 1964, Danish artist Per Adolfsen has developed a practice deeply rooted in drawing, observation and the natural landscape. After exploring different artistic languages throughout his career, including abstraction and surrealism, Adolfsen returned to the direct study of nature, working outdoors with pencil and paper and transforming his observations into larger works on paper. His landscapes are not simply representations of places, but investigations into pe

SR From London to Central Saint Martins, and then into the commercial world of advertising and gaming, your early career seems to have been shaped by both traditional artistic training and a highly structured visual environment. Looking back, what did those formative years teach you about seeing, composing and constructing an image and what eventually made you feel that you needed to return to painting? DF Those years were not separate from painting in a way. They heavily tra

SR Your practice is rooted in marbling, an ancient technique that you have transformed into a distinctly contemporary visual language. How did you first encounter marbling, and what made you understand that this technique could become the foundation of your artistic practice? MT I first encountered marbling in middle school, where we got to try paper marbling, where you make patterns of paint on the surface of water, and then dip a piece of paper to transfer the pattern.What

Monika Drożyńska was convicted of embroidery. For ten years, Drożyńska embroidered words directly onto train headrest covers. These interventions eventually led to a court case and a conviction. During her PhD at the Academy of Fine Arts in Kraków, she coined the term “embroidery writing” to describe her practice: a form of writing situated between intimate handwriting and the privileged authority of the printed word. Language is the central material of her practice. A Polish

SR Looking back at the evolution of your practice, your work has moved through different forms of image manipulation and distortion, painting, and digital experimentation. Which elements of your earlier work do you still recognize in what you are creating today, and which aspects have you felt the need to transform? AM At the beginning of my career, I was very interested in distorting information. I would intervene in old images, using pictorial details or scanner distortion

Jake Wood-Evans’ painting exists in a constant dialogue with the history of art. Educated at Falmouth University and later awarded a Royal Academy scholarship to study the Old Masters at the Prado in Madrid, he developed a practice rooted in the visual language of the past, while continually pushing it towards something new. His paintings occupy an intriguing space between representation and abstraction. Historical images emerge through layers of oil, erasure and light, becom

For more than three decades, Andy Denzler has challenged the boundaries of contemporary painting, transforming the instability of the image into a language of his own. Moving between figuration and abstraction, distortion and memory, his work questions the way we look, remember and interpret the world around us. His paintings also establish a continuous dialogue with art history, from the Renaissance Masters to the visual culture of the digital age. In this interview, Denzler

Yayoi Kusama built an artistic universe that is impossible to mistake for anyone else’s. Dots, mirrors, repetition, colour and endless spaces have become part of a visual language recognised around the world. But behind the spectacular surfaces lies something far more personal: a lifelong attempt to transform inner experience into art. For Kusama, creativity was never simply a profession. It became a way of surviving, thinking and giving form to a world that often felt overwh

Australian painter Renée Estée has been named the winner of the 2026 MA Art Prize, a prestigious award dedicated to supporting emerging talent in contemporary Australian art. Now in its fourth edition, the acquisitive prize is valued at AUD $25,000 and continues its mission of supporting artists during the early stages of their professional careers. At the centre of Estée’s victory is Empty Nest (we all wait for someone), a large-scale diptych measuring approximately three me

There are artists who paint what they see, and artists who transform the act of seeing itself. Cecily Brown belongs unmistakably to the second category. Her paintings occupy an extraordinary space between figuration and abstraction, where bodies, landscapes, animals and fragments of everyday life emerge from layers of colour and gesture, only to dissolve again before the eye can fully grasp them. Born in London in 1969, Brown moved to New York in the 1990s and quickly establi

There are artists who spend their careers trying to define a style, and then there are artists who spend their lives trying to see the world differently. David Hockney belongs unmistakably to the second category. Few artists have explored the possibilities of looking with such extraordinary freedom. Across more than six decades, Hockney has moved between painting, drawing, photography, printmaking and digital technology, constantly questioning the boundaries of his own practi

Some artists paint the world as they find it. Others spend their lives questioning who has been allowed to appear in it. Kerry James Marshall belongs unmistakably to the second category. From 18 September 2026 to 24 January 2027, the Musée d’Art Moderne de Paris will present The Histories, the first exhibition in France devoted to the American artist. Bringing together 70 works spanning more than four decades, including eight new paintings created especially for the exhibitio